The Irish Literary Renaissance

Araby
RL 3 Analyze the impact of an Short Story by James Joyce
author’s choices regarding how to
develop and relate elements of a VIDEO TRAILER KEYWORD: HML12-1198A
story. RL 4 Analyze the impact of
specific word choices on meaning
and tone, including language that
is fresh, engaging, or beautiful. Meet the Author

James Joyce 1882–1941

Often hailed as one of the greatest he tried his hand at various other jobs
novelists of the 20th century, Irish and enterprises, including teaching,
novelist and short story writer James banking, and the movie-theater business.
did you know? Joyce is noted for his experimental style
James Joyce . . . Moments of Truth In 1914, Dubliners was
and his facility with language. A highly
• had nine brothers and published, a volume of short stories based
influential writer, he popularized the
sisters. on his childhood experiences. A notable
stream-of-consciousness technique and
• titled “Araby” after a feature of the stories in the collection
pioneered a number of other literary
real festival that came is what Joyce called an epiphany—an
innovations. Many critics consider his
to Dublin in 1894. ordinary moment or situation in which an
novel Ulysses (1922) to be the finest novel
• was initially offered important truth about a character’s life is
of the 20th century.
only one pound each suddenly revealed. “Araby” is among the
for the stories published Down and Out in Dublin Joyce was collection’s best-known stories. Two years
in Dubliners. born in Dublin in 1882. Financial after Dubliners appeared, Joyce published
problems forced the Joyce family to move his first novel, A Portrait of the Artist as a
frequently, each time to a poorer and Young Man.
shabbier section of the city. Joyce thus
Self-Imposed Exile In June 1904, Joyce
became acquainted with many facets of
met Nora Barnacle, a young woman
Dublin society. Despite the poverty he
from Galway; a few months later they left
experienced, his mind was preoccupied
Ireland together. The couple lived in several
with the people of Dublin, and the life of
European cities before settling in Paris
the city later became the focal point of all
after World War I. Throughout much of
his fiction.
his adult life, Joyce coped with financial
A Man of Many Interests In 1902, Joyce troubles as he continued to write. He also
graduated from University College in faced serious problems with his vision and
Dublin, where he first began to suffered periods of temporary blindness.
Writing, however,
write fiction. Wr While working on his last novel, Finnegans
was not the only interest that Wake (1939), he was occasionally forced to
he pursued. A fine singer, Joyce write in crayon on large sheets of paper in
considered a musical
music career as a order to see his own work.
young man. During
Duri his lifetime,
Author Online
Go to thinkcentral.com. KEYWORD: HML12-1198B

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 text analysis: first-person point of view
“Araby” is a celebrated coming-of-age story written from the
first-person point of view, featuring a narrator who speaks
directly to readers, using I and other first-person pronouns. In
How do
contrast with other narrative points of view (see pages 995
and 1127), a first-person story reveals everything through the you win
narrator’s eyes. The narrator and main character of “Araby” is
an impressionable boy living in Dublin at the turn of the 20th someone’s heart?
century. His comments convey emotional intensity.
You spot your crush coming out of a
I could not call my wandering thoughts together. I had hardly nearby classroom. Your heart pounds
any patience with the serious work of life. . . . and your stomach does a flip-flop.
At times, the boy does not fully understand what he sees or feels. Should you risk smiling? Maybe it
Such a narrator is called a naive narrator. As you read “Araby,” would be better to just duck out of
notice how Joyce’s use of the first-person point of view affects sight. Such uncertainty and excitement
what you learn about the story’s characters, events, and setting. are the hallmarks of infatuation. In
“Araby,” James Joyce examines with
reading skill: analyze descriptive details penetrating insight this inescapable and
often painful aspect of adolescence.
Joyce uses a wealth of descriptive details, or colorful words and
phrases, to help readers understand both the narrator’s real QUICKWRITE Suppose you are an advice
circumstances and his imaginary experiences. For example, a columnist and someone has written
visit to the market becomes a religious quest in the boy’s mind. to you for advice on how to make a
good impression on the person he or
We walked through the flaring streets, jostled by drunken
she has a crush on. Write a letter in
men and bargaining women, amid the curses of laborers. . . . I
which you offer advice to the person.
imagined that I bore my chalice safely through a throng of foes.
To help organize your thoughts, start
As you read, use a chart like the one shown to note descriptive by making a list of do’s and don’ts.
details and your assessment of them.

Descriptive Details Real or Imaginary My Analysis How to Win Someone’s

Heart
“jostled by drunken men real Unpleasant people
and bargaining women” surround the boy. Do Don’t
1. Be 1. Talk too
yourself. much.
2. 2.
vocabulary in context 3. 3.
The following boldfaced words are important in “Araby.” Try to 4. 4.
grasp the meaning of each word from the context. 5. 5.

1. He tried to upset her, but she remained imperturbable.

2. His incessant chatter gave me a headache.
3. I tried counting the stars, but they were innumerable.
4. The garrulous old man droned on and on.
5. Lovely fragrances pervade the flower-filled garden.

Complete the activities in your Reader/Writer Notebook.

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 A A BY
James Joyce

North Richmond Street, being blind,1 was a quiet street except at the hour when Analyze Visuals
the Christian Brothers’ School set the boys free. An uninhabited house of two How does the artist’s use
of color help evoke the
stories stood at the blind end, detached from its neighbors in a square ground.
setting?
The other houses of the street, conscious of decent lives within them, gazed at
one another with brown imperturbable faces. imperturbable
The former tenant of our house, a priest, had died in the back drawing-room. (GmQ-pEr-tûrPbE-bEl) adj.
not able to be excited or
Air, musty from having been long enclosed, hung in all the rooms, and the waste
disturbed; impassive
room behind the kitchen was littered with old useless papers. Among these I
found a few paper-covered books, the pages of which were curled and damp: The
10 Abbot, by Walter Scott, The Devout Communicant and The Memoirs of Vidocq.2
I liked the last best because its leaves were yellow. The wild garden behind the
house contained a central apple-tree and a few straggling bushes under one of
which I found the late tenant’s rusty bicycle-pump. He had been a very charitable
priest; in his will he had left all his money to institutions and the furniture of his
house to his sister.
When the short days of winter came dusk fell before we had well eaten our
dinners. When we met in the street the houses had grown somber. The space of
sky above us was the color of ever-changing violet and towards it the lamps of the
street lifted their feeble lanterns. The cold air stung us and we played till our bodies
20 glowed. Our shouts echoed in the silent street. The career of our play brought us
through the dark muddy lanes behind the houses where we ran the gantlet of the a ANALYZE DETAILS
rough tribes from the cottages,3 to the back doors of the dark dripping gardens Reread lines 16–24. What
descriptive details help
where odors arose from the ashpits, to the dark odorous stables where a coachman you understand the
smoothed and combed the horse or shook music from the buckled harness. When circumstances of the
we returned to the street, light from the kitchen windows had filled the areas. a narrator’s life?

1. blind: a dead end.

2. The Abbot . . . Vidocq (vC-dôkP): three widely different 19th-century works—the first a historical novel, the
second a book of religious instruction, and the third an autobiography of a French police detective.
3. ran the . . . cottages: passed through an area of hostility or attack from the rough crowd living in the
cottages.

St. Patrick’s Close, Dublin, Walter Osborne. Oil on canvas,

1200 unit 6: modern and contemporary literature 69 cm × 51 cm. © National Gallery of Ireland, Dublin.

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 If my uncle was seen turning the corner we hid in the shadow until we had seen
him safely housed. Or if Mangan’s sister came out on the doorstep to call her
brother in to his tea we watched her from our shadow peer up and down the
street. We waited to see whether she would remain or go in and, if she remained,
30 we left our shadow and walked up to Mangan’s steps resignedly. She was waiting
for us, her figure defined by the light from the half-opened door. Her brother
always teased her before he obeyed and I stood by the railings looking at her.
Her dress swung as she moved her body and the soft rope of her hair tossed
from side to side.
Every morning I lay on the floor in the front parlor watching her door. The
blind was pulled down to within an inch of the sash so that I could not be seen.
When she came out on the doorstep my heart leaped. I ran to the hall, seized my
books and followed her. I kept her brown figure always in my eye and, when we
came near the point at which our ways diverged, I quickened my pace and passed
40 her. This happened morning after morning. I had never spoken to her, except for a
few casual words, and yet her name was like a summons to all my foolish blood. b b POINT OF VIEW
Her image accompanied me even in places the most hostile to romance. On The first-person point
of view often allows
Saturday evenings when my aunt went marketing I had to go to carry some of
readers to experience
the parcels. We walked through the flaring streets, jostled by drunken men and the immediacy of the
bargaining women, amid the curses of laborers, the shrill litanies of shopboys narrator’s feelings. What
who stood on guard by the barrels of pigs’ cheeks, the nasal chanting of street- details in lines 35–41 help
singers, who sang a come-all-you about O’Donovan Rossa,4 or a ballad about the you identify with the
narrator?
troubles in our native land. These noises converged in a single sensation of life
for me: I imagined that I bore my chalice5 safely through a throng of foes. Her
50 name sprang to my lips at moments in strange prayers and praises which I myself
did not understand. My eyes were often full of tears (I could not tell why) and at
times a flood from my heart seemed to pour itself out into my bosom. I thought
little of the future. I did not know whether I would ever speak to her or not or, if
I spoke to her, how I could tell her of my confused adoration. But my body was
like a harp and her words and gestures were like fingers running upon the wires.
One evening I went into the back drawing-room in which the priest had died.
It was a dark rainy evening and there was no sound in the house. Through one
of the broken panes I heard the rain impinge6 upon the earth, the fine incessant incessant (Gn-sDsP-Ent)
needles of water playing in the sodden beds. Some distant lamp or lighted window adj. continuing or
seeming to continue
60 gleamed below me. I was thankful that I could see so little. All my senses seemed
without stopping
to desire to veil themselves and, feeling that I was about to slip from them, I
pressed the palms of my hands together until they trembled, murmuring: O love!
O love! many times.
At last she spoke to me. When she addressed the first words to me I was so
confused that I did not know what to answer. She asked me was I going to Araby.

4. come-all-you . . . Rossa: a ballad about Jeremiah O’Donovan Rossa, an Irish hero who fought against
British rule in the 19th century.
5. chalice (chBlPGs): The communion chalice, or cup, commemorates the one used by Jesus Christ at the
Last Supper, a chalice sometimes called the Holy Grail.
6. impinge (Gm-pGnjP): hit; strike.

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 Apple Blossom (1899), Sir George Clausen. Private collection. © Bridgeman Art Library.

I forgot whether I answered yes or no. It would be a splendid bazaar, she said; she
would love to go.
—And why can’t you? I asked.
While she spoke she turned a silver bracelet round and round her wrist. She
c POINT OF VIEW
70 could not go, she said, because there would be a retreat that week in her convent.
Think about how the
Her brother and two other boys were fighting for their caps and I was alone at the story’s first-person point
railings. She held one of the spikes, bowing her head towards me. The light from of view shapes your
the lamp opposite our door caught the white curve of her neck, lit up her hair that impression of Mangan’s
rested there and, falling, lit up the hand upon the railing. It fell over one side of her sister. What information
about her might an
dress and caught the white border of a petticoat, just visible as she stood at ease. omniscient, or all-
—It’s well for you, she said. knowing, narrator convey
—If I go, I said, I will bring you something. c that the boy cannot?
What innumerable follies laid waste my waking and sleeping thoughts after
innumerable
that evening! I wished to annihilate the tedious intervening days. I chafed against
(G-nLPmEr-E-bEl) adj. too
80 the work of school. At night in my bedroom and by day in the classroom her many to be counted
image came between me and the page I strove to read. The syllables of the word

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 Araby were called to me through the silence in which my soul luxuriated, and cast
an Eastern enchantment over me. I asked for leave to go to the bazaar on Saturday
night. My aunt was surprised and hoped it was not some Freemason7 affair. I
answered few questions in class. I watched my master’s face pass from amiability
to sternness; he hoped I was not beginning to idle. I could not call my wandering
thoughts together. I had hardly any patience with the serious work of life which,
now that it stood between me and my desire, seemed to me child’s play, ugly
monotonous child’s play. d d POINT OF VIEW
90 On Saturday morning I reminded my uncle that I wished to go to the bazaar Reread lines 81–84. In
what way does the boy’s
in the evening. He was fussing at the hallstand, looking for the hat-brush, and
description of Araby
answered me curtly: suggest that he is a
—Yes, boy, I know. naive narrator?
As he was in the hall I could not go into the front parlor and lie at the window.
I left the house in bad humor and walked slowly towards the school. The air was
pitilessly raw and already my heart misgave 8 me.
When I came home to dinner my uncle had not yet been home. Still it was
early. I sat staring at the clock for some time and, when its ticking began to
irritate me, I left the room. I mounted the staircase and gained the upper part
100 of the house. The high cold empty gloomy rooms liberated me and I went from e ANALYZE DETAILS
room to room singing. From the front window I saw my companions playing What descriptive details
below in the street. Their cries reached me weakened and indistinct and, leaning about Mangan’s sister
my forehead against the cool glass, I looked over at the dark house where she recur in lines 97–106?
Explain what these
lived. I may have stood there for an hour, seeing nothing but the brown-clad details reveal about the
figure cast by my imagination, touched discreetly by the lamplight at the curved narrator’s imagination
neck, at the hand upon the railings and at the border below the dress. e and romantic longing.
When I came downstairs again I found Mrs. Mercer sitting at the fire. She
was an old garrulous woman, a pawnbroker’s widow, who collected used stamps garrulous (gBrPE-lEs)
for some pious purpose. I had to endure the gossip of the tea table. The meal was adj. talking a lot or too
much, especially about
110 prolonged beyond an hour and still my uncle did not come. Mrs. Mercer stood up
unimportant things
to go: she was sorry she couldn’t wait any longer, but it was after eight o’clock and
she did not like to be out late, as the night air was bad for her. When she had gone
I began to walk up and down the room, clenching my fists. My aunt said:
—I’m afraid you may put off your bazaar for this night of Our Lord.
At nine o’clock I heard my uncle’s latchkey in the hall-door. I heard him
talking to himself and heard the hall-stand rocking when it had received the
weight of his overcoat. I could interpret these signs. When he was midway through
his dinner I asked him to give me the money to go to the bazaar. He had forgotten.
—The people are in bed and after their first sleep now, he said.
120 I did not smile. My aunt said to him energetically:
—Can’t you give him the money and let him go? You’ve kept him late enough
as it is.

7. Freemason: having to do with the Free and Accepted Masons, a worldwide charitable and social
organization. In Ireland, its members were almost exclusively Protestant and were often hostile to
Catholics (like the aunt).
8. misgave: caused to feel doubt or anxiety.

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 My uncle said he was very sorry he had forgotten. He said he believed in the
old saying: All work and no play makes Jack a dull boy. He asked me where I was
going and, when I had told him a second time he asked me did I know The Arab’s
Farewell to His Steed.9 When I left the kitchen he was about to recite the opening
lines of the piece to my aunt. f f GRAMMAR AND STYLE
I held a florin10 tightly in my hand as I strode down Buckingham Street Reread lines 115–127,
noting the unconven-
towards the station. The sight of the streets thronged with buyers and glaring
tional way dialogue is
130 with gas11 recalled to me the purpose of my journey. I took my seat in a third- presented. Instead of
class carriage of a deserted train. After an intolerable delay the train moved out of using quotation marks,
the station slowly. It crept onward among ruinous houses and over the twinkling Joyce includes dashes
river. At Westland Row Station a crowd of people pressed to the carriage doors; or summarizes the
conversation between
but the porters moved them back, saying that it was a special train for the bazaar. characters.
I remained alone in the bare carriage. In a few minutes the train drew up beside
an improvised wooden platform. I passed out on to the road and saw by the
lighted dial of a clock that it was ten minutes to ten. In front of me was a large
building which displayed the magical name.

9. The Arab’s . . . Steed: a popular 19th-century poem by Caroline Norton.

10. florin: a former British coin worth 2 shillings, or 24 pence.
11. gas: gaslight.

Hastings Railway Station (1889), Walter Osborne. Oil on canvas, 30.5 cm × 36.8 cm. The Taylor Gallery Ltd. © akg-images.

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 I could not find any sixpenny entrance and, fearing that the bazaar would be
140 closed, I passed in quickly through a turnstile, handing a shilling to a weary-
looking man. I found myself in a big hall girdled at half its height by a gallery.
Nearly all the stalls were closed and the greater part of the hall was in darkness.
I recognized a silence like that which pervades a church after a service. I walked pervade (pEr-vAd) v. to be
into the center of the bazaar timidly. A few people were gathered about the stalls prevalent throughout
which were still open. Before a curtain, over which the words Café Chantant 12
were written in colored lamps, two men were counting money on a salver.13 I
listened to the fall of the coins.
Remembering with difficulty why I had come I went over to one of the stalls
and examined porcelain vases and flowered tea-sets. At the door of the stall a
150 young lady was talking and laughing with two young gentlemen. I remarked
their English accents and listened vaguely to their conversation.
—O, I never said such a thing!
—O, but you did!
—O, but I didn’t!
—Didn’t she say that?
—Yes. I heard her.
—O, there’s a . . . fib!
Observing me the young lady came over and asked me did I wish to buy
anything. The tone of her voice was not encouraging; she seemed to have spoken
160 to me out of a sense of duty. I looked humbly at the great jars that stood like
eastern guards at either side of the dark entrance to the stall and murmured:
—No, thank you.
The young lady changed the position of one of the vases and went back to the
two young men. They began to talk of the same subject. Once or twice the young
lady glanced at me over her shoulder.
I lingered before her stall, though I knew my stay was useless, to make my
interest in her wares seem the more real. Then I turned away slowly and walked
down the middle of the bazaar. I allowed the two pennies to fall against the
sixpence in my pocket. I heard a voice call from one end of the gallery that the
170 light was out. The upper part of the hall was now completely dark. Language Coach
Gazing up into the darkness I saw myself as a creature driven and derided by Roots and Affixes A
vanity; and my eyes burned with anguish and anger.  word’s root may contain
its core meaning. The
root of derided is the
Latin ridere meaning
“to laugh.” What does
derided mean in line 171?
What other words share
the root ridere?

12. Café Chantant (kä-fAP shäN-täNP) French: “singing café,” a café providing musical entertainment.
13. salver (sBlPvEr): serving tray.

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 After Reading

Comprehension
1. Recall What is Araby? RL 1 Cite evidence to support
inferences drawn from the text.
2. Recall Who suggests that the narrator go to Araby? RL 3 Analyze the impact of an
author’s choices regarding how to
3. Summarize Describe the narrator’s emotions in the days and hours leading develop and relate elements of a
story. RL 4 Analyze the impact of
up to his trip to Araby. specific word choices on meaning
and tone, including language that
is fresh, engaging, or beautiful.
Text Analysis RL 9 Demonstrate knowledge of
how two or more texts from the
4. Interpret Symbol What does Araby symbolize, or represent, to the narrator? same period treat similar themes
or topics.
Support your response with details from the story.
5. Make Inferences About Character What epiphany, or sudden awareness, does
the narrator experience at the end of the story? Cite evidence.
6. Analyze Descriptive Details Look over the chart you completed as you read
“Araby.” What descriptive details most strongly convey the narrator’s reality
and his romantic vision?
7. Examine Narrator The story offers a naive narrator—a narrator who has
limited knowledge and who does not fully understand what he or she sees or
feels. Why did Joyce choose this kind of narrator for “Araby”?
8. Evaluate Point of View With a first-person narrator, the reader sees the
story unfold through the eyes of one character. Consider how the boy
views the story’s characters and events. Would a third-person-omniscient
narrator—one who sees into the minds of all characters—have presented a
more engaging depiction of romantic infatuation? Explain why or why not.
9. Compare Texts James Joyce and D. H. Lawrence were both masters of
psychological fiction. Compare Joyce’s portrayal of the protagonist in “Araby”
with Lawrence’s portrayal of Paul in “The Rocking-Horse Winner” (page 1154).
What techniques do they use to reveal the interior lives of these characters?

Text Criticism
10. Critical Interpretations According to American poet and critic Ezra Pound, one of
Joyce’s merits is that “he carefully avoids telling you a lot of what you don’t want
to know. He presents his people swiftly and vividly, he does not sentimentalize
over them.” In what way might these comments apply to “Araby”?

How do you win someone’s heart?

Look back at the list of advice you created about how to make a good
impression. What advice would you give to the narrator of “Araby”?
How can he win over the object of his affection?

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 Vocabulary in Context
vocabulary practice word list
Identify the synonym of each boldfaced vocabulary word. garrulous
imperturbable
1. imperturbable: (a) nervous, (b) angry, (c) calm
incessant
2. incessant: (a) ceaseless, (b) useless, (c) humorless
innumerable
3. innumerable: (a) speechless, (b) countless, (c) costly
pervade
4. garrulous: (a) shabby, (b) confined, (c) talkative
5. pervade: (a) witness, (b) permeate, (c) twist

academic vocabulary in writing

• approach • assume • environment • method • strategy

Joyce’s story culminates in the narrator’s visit to Araby—a city bazaar. What
method does Joyce use for describing the bazaar? Using at least two of the
Academic Vocabulary words, describe the scene at a similar environment, such
as an outdoor market or a shopping mall.

vocabulary strategy: using a thesaurus

For the time-pressed writer, a thesaurus can be a lifesaver. For example, to
L 4c Consult reference materials
describe a moving speech by a likable politician, the word garrulous may come to determine or clarify a word’s
to mind. But garrulous implies triviality, and the politician’s speech is profound. precise meaning. L 5b Analyze
nuances in the meaning
The main entry for garrulous provides a definition, a list of synonyms, and a of words with similar
cross-reference to a larger category entry, WORDS. The thesaurus’s category entries denotations. L 6 Acquire and
use accurately general academic
include a selection of broad concepts (BIG, FREE, WORDS, and so on). Within the words and phrases.
category of WORDS, you will find a broad range of adjectives, each of which has a
main entry like that for garrulous.
main garrulous ADJECTIVE: Given to conversation: chatty, conversational, talkative,
entry
talky, voluble. Slang: gabby. See words.
category words . . . Adjective brief, conversational, descriptive, dumb, eloquent, glib,
entry
gossipy, graphic, introductory, oral, oratorical, poetic, silent, sonorous,
speechless, talkative, tautological, unspeakable, verbal, wordy
The word eloquent, meaning “fluently persuasive and forceful,” turns out to be the
perfect word to describe the politician’s speech. To determine precise meanings and
connotations of thesaurus listings, you may need to refer to a general dictionary.

PRACTICE Use the thesaurus entries above to answer the following questions.
1. What are the synonyms for garrulous?
Interactive
2. Why would it be inappropriate to use the word gabby in a critical essay?
Vocabulary
3. How is the word garrulous related to the words following the entry for words?
Go to thinkcentral.com.
4. How would you find out the different nuances of garrulous, talkative, and voluble? KEYWORD: HML12-1208

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 Language
grammar and style: Use Effective Dialogue L 2 Demonstrate command of
the conventions of standard
Review the Grammar and Style note on page 1205. James Joyce is famous for his English punctuation when
use of stream of consciousness—a way of writing that presents a flow of images writing. W 3a–e Write narratives;
introduce a narrator and/or
and ideas meant to represent the unfiltered thoughts of one or more characters. characters; use dialogue and
Although stream of consciousness does not figure prominently in “Araby,” readers description to develop events
and characters; sequence events
can see glimpses of this innovative technique in the story’s dialogue. Instead so that they build toward a
particular tone; use precise words
of using conventional quotation marks, Joyce uses dashes or summarizes the and phrases to convey a vivid
exchange between two characters, as demonstrated in the following example. picture; provide a conclusion that
follows from what is experienced
She asked me was I going to Araby. I forgot whether I answered yes or no. over the course of the narrative.
It would be a splendid bazaar, she said; she would love to go.
—And why can’t you? I asked. (lines 65–68)
In later works of fiction, such as Ulysses and Finnegans Wake, Joyce excludes
quotation marks, hyphens in compound words, and chapter numbers and titles
to better represent the continuous flow of characters’ thoughts.

PRACTICE Rewrite the following dialogue, imitating Joyce’s use of dashes

and summarization.

“I can see you’re a bookworm, like myself,” said Mr. O’Malley, peering
over the boy’s shoulder. His clothes smelled of smoke and aftershave.
“Oh, hello, Mr. O’Malley,” said the boy, quickly closing the book and
putting a notebook on top of it.
“What is it then that you’re reading?” asked Mr. O’Malley, attempting
to push the notebook aside.
“Oh, nothing,” said the boy, placing both hands on top of the notebook.
“Just something we’re supposed to read for school.”

reading-writing connection


YOUR Expand your understanding of “Araby” by responding to this prompt.
Then use the revising tips to improve your scene.
TURN

writing prompt revising tips

WRITE A DRAMATIC SCENE Write a three- • Add more vivid descriptive
paragraph scene describing the narrator’s details.
next encounter with Mangan’s sister. The • Check to see that you have
scene should include dialogue between the maintained a consistent
two characters. The scene should conclude tone and point of view.
in a way that follows logically from both the Interactive
• Try to reference some of Revision
dialogue and the events of “Araby.”
the specific plot points in
Go to thinkcentral.com.
“Araby.” KEYWORD: HML12-1209

araby 1209

NA_L12PE-u06s22-arAraby.indd 1209 1/13/11 12:39:14 PM